THE ART OF | POLYMER CLAY \ Creative Surface Effects’ Techniques and Projects Featuring Transfers, Stamps, Stencils, Inks, Paints, Mediums, and More DONNA KATO Foreword by Carol Duvall Plisjactaphy by verten Ezeene eee Foreword by Carol Duvall Introduction POLYMER CLAY BASICS eee aCe yy Peacoat Recent Irae Pe eneometes Ihren eee ei anne Polymer Clay and Color eS ea MICA SHIFT TECHNIQUES Ite eure MRO ey ee Ren eee Toc eR a ROU a erect DYN Eyal aa I CAVA es) ONTO POLYMER CLAY Dieemege AUC aoa on acre ote Ra ee ecm eee ry pena RRS remem na een Cnr ieee CR Lea acy Inkjet Transfer onto Liquid Polymer Cloy CREATING TEXTURE Texturizing Materials and Techniques Wer eet sas ents alte} 18 23 Px 36 ry) 46 48 52 55 Bs) co J cc Ca v3 rz) i) En 83 evs Ea co) 7) 94 Cr mofo) 102 103lees ae Su Ce DOC Ma oly PAINTS, INKS, AND PIGMENT POWDERS Geuuigant ey Pere Luray Seon ee Inked Inro Box ea Inked Cabochon Pendant Pei Ms aenelg SPECIAL EFFECTS WITH LIQUID POLYMER CLAYS Working with Liquid Cloys ri) Wee ac ics eee a! Cee any SCULPTURE AND MOLD MAKING Using Armatures een ecr) eee cael Deere ean aod cercicg reggae) eon MGS oe ie ays aTey.} 108 110 nes TE} Pal Pe V2) 130 IK} KYA 138 140 ivy 144 ary VE) Zi 152 ars ner aes} 7) a 170 ye PZ PA}THANK YOU TO Robert Augur, Tony Aquino, Ruben Castaneda, Amarlys Rodriguez of Van Aken International, Suzanne Hammond, and Bill Mangelson of Makin’s Cl Lucky me, I have been blessed with great “craft” friends, old and new, In alpha- betical order: Judy Belcher, Jana Roberts Benzon, Leslie Blackford, Maureen Carlson, Kim Cavender, Sarah Chinen, Darlene Clark, Helen Cox and Stephen Smith, Maria del Pinto, Nuchi Draiman, Kel Ino and Dustin Ebesu, Priscilla Hauser, Carol Hess, Ellie Hitchcock, Tim Holtz, Cathy Johnston, Sue Kelsey, Susan Kocsis, Jacqueline Lee, Klew, Ellen Marshall, Rai Nelson, Mary O'Neill, Cheri Oshinsky, Carol Overmyer and Jan stevez (both gone, but never forgotten), Lisa Pavelka, Gail Phiak and her (late) mom, the wonderful Lou, Varda Lev Ram, Eti and Moti Raz, Gail Ritchey, Lynne Ann Schwartzenberg, Lee Scott and Irene Nichorster, Connie (and Ken) and Alicia Sheerin, Shane Smith, Karen Thomas, and Barb VerniLau. Many thanks to the artists who contributed their work to this book, too! To Miss Carol Duvall, my great friend. Honestly, I don't think Td have a .d support. Funny, lay. career had it not been for you and your generosity, kindn honest, humble, loyal, and beautiful inside and out, Miss D., you've got it all. From my heart to yours, thank you. Td like to thank some polymer pioneers and friends, too. Thank you Sarah Shriver, Lindly Haunani, Nan Roche, Pier Voulkos, and Kathy Dustin for the Special thanks to Laurie Maclsaac for writing the section on color. Your contribution definitely enhanced and improved the content of this book. Thank you to my siblings—Alan (and Gwen), Tina (and Harry), Mark (and Kathy)—and my oldest friends, my “sisters” Terri Silverstone (and David Lissner), Mary Prehal (and Jacque Ducharme), Helena Brown, and Mary Studebaker (and Tom Petroff). Can’t leave out my nephews, Mitch, Eric, Aaron, Jake, Sam, and Joshie, and my one niece, Princess Hannah-face. Alll thanks to Joy Aquilino, the most unde ‘Thanks also to editor Michelle Bredeson and designer Areta Buk. anding editor on the planet. To the most understanding husband around: Vernon, than! encouragement, and for letting me do what has to be done. Than! for your support, for cooking, shopping, doing laundry, and shooting this book. I love you. Finally, Id like to thank all of you for your many kind and encoui over the ye ing words s. Were it not for you, I might not have made this journey at all. ror tooniow: LESLIE BLACKFORD, $ ‘Three polymer clay masks by three wonderful artists and friends. LSEY, AND KIM CAVENIFOREWORD BY CAROL DUVALL DONNA KATO is one of the most surprising people I know. She is charming, soft-spoken, serious, incredibly talented, knowledgeable, and, in the language of old Hollywood, a screwball. She loves off-the-wall ideas and will enter into any goofy scheme that one of “the girls” comes up with. Everybody who knows her loves her. I know that I do. And as well as I think I know her, she continues to surprise me with her creativity, delight me with her humor, and amaze me with her generosity. I first met Donna when I was attending the NAMTA (National Arts Materials Trade Association) convention some years ago and she was demon- stating polymer clay. After watching her make magic with a piece of green clay, my producer and I invited her to be on my television show. Donna turned up at the studio, taped her first segment, and we were smitten. The cameramen loved her, the stage crew loved her, and the viewers loved her. And so we invited her back again... and again . .. and again. Through the years Donna not only taught thousands of viewers to appreciate the pleasures of working with polymer clay, but she was such an excellent teacher that we ended up having several of those viewers as guests on the show! Although television is an incredible medium for teaching, it is also fleeting. When the show is over, it’s over, Not so with a book. A book you can linger over, and Donna has written a book that you can linger over for hours... days... for as long as you like, whenever you like. I'm far from considering myself a “polymer clay person” beyond what I’ve absorbed by standing next to Donna and other guests, but I found The Art of Polymer Clay Creative Surface Effects fasci- nating. Donna clearly explains each technique and she not only answers your questions, she answers questions you didn’t even know you had. She has managed to make a book that is basic enough for the beginner but with so many innovative suggestions and projects that even the most advanced artists will find it inspiring. I was flattered and honored to be asked to write the foreword to Donna's book. I value her friendship, I respect her integrity and her devotion to her craft, and I am awed by her as a person. I am thrilled with this book and I hope and expect that you will be as well. Enjoy! (and) DuuaeeINTRODUCTION p THE PUBLICATION of my first book, The Art of Polymer Clay, in 1997, interest in polymer clay has continued to grow, and the level of proficiency of polymer clay enthusiasts is taking the medium solidly into the category of fine art. Polymer clay artists have witnessed the amazing diversity of the medium, have grasped the incredible possibilities it holds, and have shared their discov- cries with the art and fine-craft community at large. I think the possibility of new discovery the passion we feel about our medium. Of course, the tactile nature of polymer clay is another. There are so many reasons this medium inspires and excites. I hope this book provides some inspiration and a reason or two for you to dive in. Polymer clay artists are experimenters who are likely to try anything with clay. We cover anything that can withstand its curing temperatures. We raid our kitchens and cruise the aisles of craft, art material, hardware, and hobby stores looking for anything that might work with clay. We stamp, paint, mix, mold, and sculpt polymer clay. We try to make our ay imitate other materials. The incredible diversity of entries in the “Feat of Clay” shoe show is a testament to polymer clay’s amazing versatility. one explanation for Third Place ‘most: LORIE O. FC First Place THE FEAT OF CLAY SHOE SHOW “Feat of Clay” was @ secret competition sponsored by Van Aken International, the manufacturer of Kato Polyclay. Our goal in organizing this contest was to showcase the versatility of polymer clay as an art medium. Forty artists were invited to create polymer clay “shoes” for a surprise display at the annual Craft and Hobby Association's 2004 winter tradeshow in Dallas, Texas. There were no limits on subject matter, theme, or color. The only requirement wats that the shoes be between size 5 and size 71/2. The artists were ‘asked not to discuss the competition until the shoes went on display. The exhibition was the tlk of the convention, and the imagination and creativity that resulted from this challenge ‘are evident in the results you see on these pages (see pages 172 to 176 for more entries). First, second, ond third place prizes, clong with several honorable mentions, were ‘awarded for the most innovative designs. | hope you have as much fun looking at and get ‘a5 much inspiration from these amazing creations os | dic organizing the competition.—Beginning work in a new medium always presents question upon question. takes time and work to integrate and organize all the bits of newly acquire nted to fill those blanks, but I also wanted to provide the reader with the means to sol problems. I've tried to organize the information so that one technique builds 0 information provided in a preceding technique, rather than repeating the sam information in more than one place. It is my hope that this book might be use as a persona information. When I began work on this, my second book, I v polymer clay class and that, when you ha re taken each step alon the way, you'll acquire a deeper understanding of this incredible medium For experienced polymer enthusiasts, I hope I'll show you some thing you might incorporate into your work as you continue on your ow: polymer clay journey. Honorable Mention Honorable Mention 12 INTRODUCTIONKATHERINE DEWEY Second Place JACQUELINE LEE Honorable Mention KATHLEEN DAVIS Honorable Mention INTRODUCTION. 13ase -g8as Honorable Mention 7 we £0, rt DIANE LUFTIG Honorable Mention ‘omrosre: SUE kK Honorable Mention SEY DEBBIE JACKSON Honorable Mention OLIVIA ASH TURNER Honorable MentionPOLYMER CLAY BASICS olymer clay is often thought to be one of the most difficult art and craft mediums to master. This perception has led to a resistance to try it. I have never met anyone who has enjoyed immediate success with the medium, so don’t be discouraged. Once you have acquired a basic understanding of polymer clay, you will find that proficiency comes very quickly. In this chapter, you will learn about the various brands of clay, which tools you need to work with polymer clay, how to prepare the clay, and how best to cure your pieces. And you will learn basic techniques for working with clay, including making beads and the all-important Skinner Blend.CHARACTERISTICS OF POLYMER CLAY JUDY BELCHER Once cured, some brands of polymer lay are strong enough to withstand stitching on a sewing ‘machine, as illustrated by ‘his colorful purse. POLYMER CLAY is a man-made modeling material composed of particles of polyvinyl chloride combined with gels, fillers, plasticizers, coloring agents, and resins, Like earth clays, polymer clay can be shaped and molded into almost any form imaginable. Unlike earth clays, polymer clays are produced in a great range of colors that may be mixed to create a custom color palette. Bringing this malleable material to its permanent state requires exposure to temperatures from 215°F to 325°F, depending on the specific brand. This process is called curing. Once cured, the clay becomes a hard, durable plastic and is “fixed” —that is, it will not return to its original soft state. Uncured polymer clay is subject to change when exposed to temperatures of 90°F or higher, but even at cooler temperatures, it will naturally “advance” and change over time. As the clay advances, it becomes stiffer, because the ingredients shift toward their original wet or dry states. When stored at cool temperatures and away from direct sunlight, though, polymer clay will last for years. Polymer clay is an incredibly versatile material that, after curing, can be carved, punched out, and even sewn. Because of the low curing temperatures of polymer clay, there are many materials—including glass, ceramic, papier-maché, and many plastics—that may be covered with clay and then cured in the oven. 18 POLYMER CLAY BASICSstove: CATHY JOHNSTON Artist Cathy Jobnston combined her love of polymer clay and her passion for books in creating her “Memories” book. Each page was cut from sheets of cured clay. She joined the pages to make a window in which she placed memorabilia. This delightful candy sampler box was made for a Kato Polyclay-sponsored exhibition. The box itself is made of polymer clay ‘with clay support rods in the corners. The walls are thick enough to maintain ‘their shape and form. In the box are twelve “chocolates.” Each one opens from the bottom, revealing a piece of accordion-pleated paper.Hawaiian nati Chuns delicate leis are made of bundreds of exquisitely shaped polymer clay flowers Because polymer clay dees not bond to other ‘materials, the polymer clay and Precious Metal Clay elements in these elegant earrings were joined with glue is a very popular project, but not ing process. Clear, hard plastic pens like the inexpensive BIC Round Sties Covering pen all pens will survive the cu will melt in the oven, while pens such as the Paper Mate Flex Grip can handle the curing temperature quite nicely with no resulting warping or shrinkage. n, experimentation is recommended ore you invest time and rgy in curing mate- rials with polymer clay, For example, if you're unsure whether a pen may be safely covered, simply remove the ink cartridge and bake the pen for 10 minut at the recommended curing temperature. When keep in mind that it does not bond permanently to anything but itself! For that reason, any other mate~ rials must be glued in place after curing with two-part epoxy or some other strong glue. Gl temperatures required for polymer clay, and you will find that the clay sticks ea tured surface. Bear in mind, though, that cl be unaffected by the low curing ly to its smooth, untex- ind.gliss do not form a permanent bond, so the clay piece must be removed after curing and glued on with an adhesive, such as E6000 (a silicone-based glue) or two-part epoxy. For this reason, it is best to trap the glass i mple, applying clay around a round votive candleholder whose sides curve out from a smaller diameter bottom and then curve in to a smaller diameter opening will trap the votive glass form. Decorative clay elements can be pressed to the clay itself Covering porous or textured pieces with clay requires the application of a sealer before covering with clay. I've used some heat-set paints for this purpose, and you may also use PVA glue or Sobo Glue. Wood can be difficult to cover, even when a sealer has been applied. Wood is prone to swelling, which may create chy. Generally, I avoid covering wood objects, although T've had success with wood forms from Walnut Hollow. The wood is very fine grained and five of knots. m in clay. For © on the surface of the curing maove: SHANE SMITH Covering the stems and bases of these wine glasses sith Black clay has ensured that the delicate gold vines and leaves are secure ert VALERIE WRIGHT An ordinary serving spoon ‘becomes something quite special cohen its handle is covered with polymer clay using the mokumé gané technique. Mokumé gane is «a Japanese metakworking process, ewhich can be imitated by layering many colors of lay and even paint and metal leaf. The clay is stamped, and the raised clay is sliced away, revealing the pattern.Artists such as Suzanne Tvester and Daphne Seaman are using polymer clay as if it were paint itself, stretching the medium in unexpected and exciting directions. (Phatos: 1 Jobn Black vonow Mara Ringo ) 2 tay 8 Although polymer clay variety of colors, it may also be painted mes in a great before or after on cured clay, apply the paint in several thin layers with a damp (not wet) brush, allowing the paint to dry between applica- tions. I've found that paint applied in this way before ing. For overall coverage ng becomes permanently part of the clay after curing and will not chip or rub off. Polymer clay artists have i t airbrush used acrylic paints, heat paints (such as those produced under the Createx brand), heat-set ar as Genesis Heat-Set Artist Oils), and even tempera paints (I prefer the Jazz brand) to ing surface effects. (See “Paints, Inks, and Pigment Powders” on page 109 for more information on and ideas for pa ) Like earth clays, polymer clay can be sculpted into alm aginable, Juding figures, vessels, and bas-r designs. When making large forms, it is advisable to work the clay around support armatures. Common armature materials and wire. Bulking out large forms with foil ensur adequately cur. weight of such pi oils (such achieve interes nting polymer any form i ief are , as it reduces the overall . Wire can be used to support arms and legs in doll and figure pieces and will minimize breakage from handling. These armatures remain in the piece. (See “Sculpture and Mold Making” on page 152 for more about sculpting ) One aspect of polymer clay that makes it such a popular medium is that it can imitate countless manmade and natural polymer cla materials, such as wood, glass, stone, bone, and metal. Such attempts at creating ng imitations in pol be interesting and challenging. When it comes to what you c: do with polymer clay, the only lrTh VARIOUS BRANDS of polymer clays on the market differ in a great many ‘ways. I would suggest you try them all and decide which brand works best for your situation and your applications. Do you live in a warm climate or a cool ‘one? Do you have hot hands or cold? If you are making millefiori canes, a sticky clay will be difficule to manage in a hot environment; a clay that resists stickiness re a doll artist, clothing your dolls with polymer clay clothing, you may find it easier to work in the same environment will slice with less distortion. If you with a clay that tends to be a bit softer and less likely to crack when pleated. Many polymer clay artists use different brands, selecting a particular brand for a specific purpose. The brands I discuss here are the most easily acquired polymer clays in the United Stat but they are not as easy to come by. . There are other brands, such as Cernit, Modello, and Formello, DONNA K. Clays that are very durable and also retain some flexibility after curing, such as Kato Polyclay, can be easily carved, as demonstrated by this detailed watch caseKATO POLYCLAY The newest brand of polymer clay, Kato Polyclay, is the first polymer clay designed by and named for an artist for artists and is the result of my collabora~ tion with Van Aken International. After discussing the characteristics we wished to have in our clay, Tony Aquino and Van Aken vice president Robert Augur formulated Kato Polyclay. Kato Polyclay features seventeen colors. Within the line are true complemen- tary colors that make it possible to mix virtually any color, Recent the line are concentrated colors designed specifically for color mixing. Kato Polyclay is sold in 3-ounce and 12.5-ounce bars. Unlike other brands, Kato Polyclay is vacuum extruded, a process through which most bothersome air pockets in the clay are removed. Kato Polyclay cures between 275°F and 325°F. Generally, I cure my pieces at 300°F, which reduces curing time by half. I have found that Kato Polyclay is the most durable polymer clay. All of the projects and all of my pieces in this book are made with Kato Polyclay. FIMO Fimo Classic and Fimo Soft polymer clays are manufactured by the German company Eberhard Faber and distributed in the United States by the American Art Clay Co. (AMACO). Fimo Classic was introduced to the United States approximately forty years ago. Fimo Soft was formulated to address the difficulties users found in conditioning the original Fimo. Fimo clays are produced in a very controlled environment and to very tight specifications. For two years, I consulted on and marketed Fimo Classic and Fimo Soft clays to the US. market. Fimo Soft polymer clay colors are bright and clear, but they do shift more than Fimo Classic because the colors are set in a translucent base. There are twenty-four colors of Fimo Classic and fifty-three colors of Fimo Soft. Both polymer clays are sold in 2-ounce and 13-ounce packages. Fimo Classic and Fimo Soft cure at 265°F. Fimo Soft is strong when newly cured, but over time it tends to become more brittle. Fimo Classic is a very strong clay that maintains its strength over time. POLYFORM PRODUCTS Before the introduction of Kato Polyclay in 2002, there was only one American manufacturer of polymer clay: Polyform Products Co. The brands they currently produce are Sculpey, Super Sculpey, Sculpey III, Premo! Sculpey, and several novelty clays. Original Sculpey comes in white and terra cotta; Super Sculpey is beige; Sculpey III is available in forty-four colors; and there are thirty-two colors of Premo! Sculpey. Sculpey III is sold in 2-ounce bars, and Premo! Sculpey is sold in 2-ounce and 1-pound bars. Original Sculpey and Super Sculpey clays are available in large bulk packages. Of all their clays, Premo! Sculpey is the most durable and Sculpey III is the weakest. All Polyform clays cure at 275°F. iditions toIQUID POLYMER CLAYS TIP addition to solid modeling clays, some brands of polymer clay also offer liquid f°" all of t iy. All quid polymer clays workin basically the same way and can be used inthe > He a eed ke techniques. All will transfer inkjet images (see “Inkjet Transfer onto Liquid 2790" cad ‘ Polymer Clay” on page 98) and all may be tinted with oil paints, mica pigment aime clay | used owsders, and solvent-based inks, such as Tim Holtz’s Adirondack Alcohol Inks Kato Clear Mediu. (Ranger Industries) and Pifata Colors inks (manufactured by Jacquard). The curing times and ‘The first of these “polymer clay in a bottle” formulations came from Polyform temperatures in the ducts. Translucent Liquid Sculpey is thick and milky. After curing, it does instustions ore for sar somewhat, but of all brands it is the least transparent. _ Kato Clear Medium is almost erystal clear when itis cured at 325°F. In terms yo gil clay oles f consistency, itis thinner than Liquid Sculpey and so it is less prone to trou- fo the manufacturers blesome air bubbles. Kato Clear Medium is also easier to sand than Liquid insiructions Sculpey. When cured at a high heat (between 320°F and 340°F), the surface of to Clear Medium takes on a high gloss and reaches glasslike clarity. __ Liguid Fimo Decorating Gel is the newest of the liquid polymer clays. Of all liquid polymers, it is the most transparent, although cured Fimo Gel is ry, making it difficult to sand. these products. If you use a different brand of DONNA KATO ‘Special fics with Liquid Polymer Clays" on page 140 demonstrates a number of techniques and projects for working with Bic laeaae ili inka a a I a ce eeeTOOLS AND MATERIALS secow ert. An array of ‘work surfaces on a sheet of Formica. From left 10 right: a large ceramic tile, a glass sheet, a small ceramic tile, and a marble file, A piece of rubber mat placed beneath any of these surfaces will Reep them from sliding on your table. seow noi: DONNA KATO When applying paint with amy finger, as I did for these cloisonné pendants, Luse a piece of tempered glass or ceramic tile so that the lay swill stick to the surface and not lift up with my finger. (See "Cloisonné Heart Pin’ on page 149 for more ‘on creating this effet.) 26 POLYMER CLAY BASt PEOPLE WHO ARE NEW to polymer clay frequently ask me what tools and supplies they need to work with the medium. The most spare setup would be a good work surface, a pasta machine, and a clay blade. To begin, that’ all one really needs. But, as I mentioned before, we polymer people are drawn to tools and anything else that we can use with our clay. Listed below are some tools and materials I regard as essential, as well as some others I use only incidentally in my work, WORK SURFACE Polymer clay may react with your farniture’s finish, so you'll want to begin with a. good work surface. The work surface I use most often is a piece of Formica that was cut out of a countertop to make a hole for a sink. On its lightly textured surface, even the thinnest sheet of clay may be easily lifted without risk of tearing or stretching, ‘There are times you might want your clay to stick to the surface. When cutting a stencil for example (see “Creating a Mold from a Stencil” on page 158), using a surface to which the clay sticks makes it possible to cut the finest of lines. A pane of tempered glass or a ceramic tile works well for this purpose. Another good all- around option is an acrylic board, which is lightweight and perfect for travel. If you teach classes or workshops, small ceramic tiles, index cards, or manila folders are easily accessible, inexpensive work surfaces for your students.PASTA MACHINE I think the most valuable tool for ‘working with polymer clay, next to a pasta machine. You your hands, i can use it to condition clay, make Skinner Blends (see page 55), and roll out uniform sheets of clay. The type of pasta machine that can be used with polymer clay has a hand crank. (Do not use the type of pasta machine that mixes and extrudes pasta.) Some brands include Atlas, Al Dente, Imperia, Pasta Queen, and Makin’s. Pasta machines have thickness settings. The thicknesses are numbered, but there is no standard for the way they are numbered. On some pasta machines, #1 indicates the thickest setting, while on others it may be the thinnest setting, I use the Makin's Professional Ultimate Clay Machine, which isa pasta machine made specifically for use with clay. It features 7-inch rollers that have a nonstick coating. Most pasta machines are not made for polymer clay use. They are, of course, made to roll sheets of pasta. Clay is stiffer and firmer than pasta, so when we roll chy through these machines, we are subjecting most machines to greater stress than they are meant to withstand. For this reason, be kind to your machine and roll sheets of clay through that are close to a setting, rather than forcing very thick slabs of clay through radically thinner settings. Once you use a pasta machine for polymer clay, you should never use it for food preparation. Itis possible to disassemble and clean the machines, but I do not frequently do so. do, however, take my machine apart to remove the top plates, as they are not essential to machine function. (Do nof remove the bottom plates.) By removing the top plates, itis possible to gently remove clay that has collected there. To prevent damaging the plates, you should never use a metal tool (such as. needle tool) to pry out and remove clay from between the rollers and the plates. use a bamboo skewer for this purpose, gently and carefully easing the chy out. Once the excess clay is removed, I roll light-colored scrap clay through to pick up any remaining bits of clay. The surface of the rollers may be cleaned aturated paper towel or alcohol wipe on them as you ng the bottom plates also helps minimize by pressing an alcohol crank the machine. Frequently wip' ation from previously rolled clay. color contami ‘The Makin’ Professional Ultimate Clay Machine was designed specifically for use with clays and “features nonstick rollers. You can replace the hance with a motor (shown at Left) to free up your hands while working.voor wre Various tools that can be used for smoothing polymer clay: Anitting needles (lying on top) and, from left to right, an acrylic rod, the Pro Clay Roller, and an acrylic brayer swore comer A surgical sealpel (center) and erafe Anives are handy tools for cutting out polymer lay shapes seo noit: Polymer clay cutting blades and the Kato Marxit measuring tool 28 POUMeR Clay 8 Because I use my machine so frequently, I've connected 2 motor to it. This motor makes it possible for me to use both hands to handle the clay as itis fed into and out of the machine. There are several brands of motors. I use the ‘Makin’s Clay motor because it features two speeds and seems to be quieter than the others I've tried. Recently, I've added a foot pedal, so now I don't even have to turn the motor on and off by hand. SMOOTHING TOOLS Acrylic rods are used to flatten and compress clay, to condition it, and to smooth the surface of pieces you are working on, They are sold in most rials, and hobby stores. Thick double-pointed knitting needles are also excellent smoothing tools. Handled acrylic brayers are also Prairie Craft Co. sells the Pro Clay Roller, an acrylic rod that comes with three pairs of gaskets of various diameters so you can roll sheets of uniform thickness, art mate ul for smoothing surfaces. DELI PAPER A sheet of deli or parchment paper comes in handy when working with polymer clay. You can use it as a temporary work surface on which to ereate a piece and then just peel it away before curing. It can also be clay that has been painted when rolling it with an acrylic roller or through a pasta machine. CUTTING AND SLICING TOOLS You can cut and slice clay with a craft knife, but a better option is a polymer clay blade. Before the introduction of polymer clay blades, the tool most used for cutting and slicing polymer clay was a medical icing blade. This blade is 4 inches long, sharp, and flexible. The stiffer, longer, 6-inch Kato NuBlade was introduced to the polymer clay community by Prairie Craft Co. and has gained d to protect the surface of wide acceptance among polymer clay artists. Although this blade is more rigid, it is no less sharp. The increased rigidity makes it easier to cut and slice through large blocks with minimal torque, or twisting, as it moves through the clay.The stainless steel Kato NuFlex Blade is also 6 inches long but is less rigid, more like a tissue blade. The 4-inch-long Kato T-Blade is comparable to the tissue blade, but ike the NuFlex Blade is made of stainless steel. Scalpels and craft knives are very useful for cutting shapes from sheets of clay. Very fine needle tools will also serve this purpose. KATO MARXIT ‘The Kato Marxit is a tool I designed and, with my husband, Vernon, brought to market, It is a six-sided ruler, each side measuring a different mi ment. The ridges are raised, so that when pressed to a sheet of clay the ions, it can meter incre- measurements are transferred onto the clay. Among its many applic: be used to measure strips of uniform width on sheets of clay. PIERCING AND DRILLING TOOLS ‘When making beads from polymer clay, I usually make the holes before curing. Thave many necdle tools of various bore sizes that I use for this purpose. The Kemper Pro Tool is an excellent basic needle tool. It is inexpensive and available at most craftand hobby stores. The needle is set in a thin metal handle and protrudes out of the handle perfectly straight—very important when “drilling” bead holes. bamboo skewers. You may also make your own needle tools by inserting the eye of a carpet needle or doll needle into a mass of raw clay and baking. ‘There are instances when you will want to drill holes into your pieces after curing, For example, if you cure the piece first, it is less likely that the piece will become distorted or marred by handling. For drilling into cured clay, L use a hand All (pin vise) and even drill bits alone. The electric Dremel tool, mounted to its own diill press, is commonly used. If you are going to drill your piece after curing, it is helpful to pierce the raw clay at the spot where you plan to drill. Talso us Various drilling tools From left to right: a Kemper hand drill, a pin ‘vise, and fev0 drill bits. ERIAIS 29.There are a mumber of glues and adbesives that can be used with polymer clay. Which glue you choose ‘will depend on the application. 30. POLYMER CLAY 8: SANDING TOOLS Sanding your finished pieces with coarse-grit sandpapers, sanding sponges, or dishwashing scrubbies (coarse green and fine white) will give them a matte finish, To achieve a high sheen on finished pieces, you'll need several grits of wet/dry sandpaper. I use fine, medium, and coarse sanding sponges and 400- and 600-grit wet/dry sandpapers in my work. (See “Finishing Your Work” on page 48 for more about sanding polymer clay.) GLUES AND ADHESIVES Cyanoacrylate (CA) glue bonds almost instantly with polymer clay and is what Luse to secure buna cord to my jewelry and to glue pinbacks to pieces. There are many brands of CA glues; I use my own, Kato Polyglue, which is 99.5 percent pure, is almost odorless, and does not fog. CA glue loses its effectiveness when it is exposed to humidity, so to prolong its life the glue should be placed in an airtight jar (glass or food-safe plastic) along with a silica gel pack. We sell our glue with the gel pack and fine applicator tips. PVA glues can be used to prepare porous surfaces before covering with clay. To glue cured polymer clay to metal and glass, I would recommend a s based glue, such as E-6000 or Goop, or a two-part epoxy. Artist Jacqueline Lee favors Hypo-Tube Cement for most of her post-curing glue needs. TEXTURIZING TOOLS Uncured polymer clay accepts texture readily, and just about anything that has some texture can be used to add texture to your clay. See “Creating Texture” on page 100 for information on tools and materials for adding texture to polymer clay. icone~ BEADMAKING TOOLS Designed by Sue and Gale Lee, Poly-Tools Pro Bead Creation Rollers allow you to form perfectly shaped and uniform clay beads, including round beads, oval (barrel) beads, and bicones.Sue and her husband, Gale, have also designed an ingenious and efficient bead-baking system, the Pro Bead Rack, in which raw clay beads are threaded onto pins. The pins are then placed in notches in the aluminum baking rack. By suspending the beads on the rack, they will not end up with flat, shiny spots. CLAY GUN Acclay gun can make many tasks easier and produce more refined results. New on the market is the Makin’s Ultimate Clay Extruder. This self-cleaning gun has a screw-in plunger that makes extruding even stiff clay a simple task. To use, select a stainless steel disc and screw it in place. Soften and roll a cylinder of clay and drop it in the barrel. Screw the plunger back onto the barrel and turn the screw to extrude the clay in various shapes. I most often use the simple round- hole dise to extrude snakes that I use for edging and other applications. tert Poly-Tools Pro Bead Creation Rollers. eatow Poly-Teols Pro Bead Rack with beads made by Sue Lee 4801 DONNA KATO Tereated the perfectly rounded tiles used in these bracelets by pressing rods of clay into the Poly-Tools Bead Rollers, then slicing away the excess clay, ert The Makin’s Ultimate Clay Extruder comes with a variety of discs to enable ‘you to extrude clay in a range of shapes and sizes.A%selection of shape cutters, including a set of graduated circle cutters ‘and tall cookie cutters. es '\0 @ | wy DONNA KATO These inro boxes cwere constructed over tall shape cutters. 32 POLYMER CLA SHAPE CUTTERS I find that shape cutters can be a real time saver and make simple work of many tasks. Kemper manufactures a line of metal cutters in many including stars, squares, circles, leaves, flowers, and hearts, all with built-in izes and shapes, cutters are an inex- those manufactured cutters from, plungers for expelling the clay. Open-backed metal cooki pensive option and widel by Wilton, also work well with polymer clay. I have Japan that I must clean after each use; otherwi and the cutters would melt! The shape cutt of graduated circle and oval cutters and a set of Ateco cutters in simple geometric cl chemical reaction would 0 ur 1e most frequently are my set shapes that are particularly tall. I use the tall cutters for constructing bodies of small box vessels (see “Inro Box with Toner Transfer” on page 76 and “Inked Inro Box” on page 125). PUNCHES Small paper punches, commonly found in stamping and craft stores, and machines made by companies such as Sizzix and Acct sd to punch out shapes in thin sheets of cured clay. Select a less brittle clay, such Polyclay, Fimo Classic, or Fimo Soft, and certain colors of Premo! Sculpey if you plan to work with punches and cured clay. MOLDS Molds manufactured for use with polymer clay have been marketed and sold for many years, beginning with Maureen Carlson's character molds and Judy Maddigan’s floral design molds produced by American Art Clay (AMACO). ‘These were rigid molds made of resin. The newer soft molds can be twisted to cut can be expel the clay.Repel Gel, which is formulated by Tony Aquino of Van Aken International, prevents clay from sticking to other clay. Repel Gel acts as an effective resist when it is both wet or dry. Because it is applied as a gel—by finger or with a brush—it is easy to target specific areas where clay-to-clay adhesion is ‘unwanted, After an item on which Repel Gel has been applied has been cured, simply wash the Repel Gel off with water. PAINTS, INKS, AND PIGMENT POWDERS Acrylic and tempera paints can be applied to polymer clay to achieve a variety of colorful effects. Pigment powders may be used on clay to impart a metallic, iridescent, or faux dichroic glass finish. Inks can be stamped on clay in the same “way you would stamp paper. There is a chapter devoted to these materials (see page 108), which gives detailed instructions for combining all of these materials with polymer clay. In addition to acrylics and tempera paints, you can also get beautiful effects by painting polymer clay with Genesis Heat-Set Artist Oils. As the name implies, these high-quality paints do not set until they are exposed to heat, specifically 275°F. Although they are certainly not inexpensive, bear in mind that there is no waste; if you store the pots in a cool place, the paint will remain usable forever, making them quite economical. I sometimes use these paints when creating multilayered effects using Kato Polyclay Clear Medium (sce page 145). Tn addition to paint, Genesis offers thinning and thickening additives. ELLEN MARSHALL Ellen Marshall has spent countless hours studying the “crazing” eects possible when using various air dry, heat-set, opaque, and transparent paints, pigments, and inks, some of which can be seen in this pendant. Ellen has written a book, Po Clay Surface Design Recipes (Quarry Books, 2005), which I believe isa “must ba’ _for anyone interested in surface treatments, paints, and dyes, sourceMaterials for creating metallic effets include (fiom left to right) Loose composition leaf, sheet composition leaf, and metal foils in “oil slick” and rainborw colors. Margaret Reid skilfully and effectively ses metal leaf'in ber impressive ‘micro mosaic art. (Photo by Michael Taylor.) owt RON LEHOCKY Artist Ron Lebocky bas ‘ued patterned composition Leaf and translucent clay in this Beautiful mokumé gan brow 34 FOWMER CLAY BASIC METAL LEAF AND FOIL Metal leaf and foil can be applied to polymer clay to create beautiful metallic effects. The Jeast expensive and most easily acquired type of metal leaf is called composition leaf Composition leaf mimics gold, silver, and copper and also comes in patterns. Genuine metal leaf is also available. When using metal leaf, I prefer 23-karat gold and genuine silver leaf in my work, rather than composition leaf. Genuine metal leaf is softer and less brittle pattern. Bear in mind that no metal leaf, whether composition or genuine metal, forms a lay and the leaf, once cured, must be sealed with glaze ot a very thin layer of translucent clay to prevent it from chipping off the cured clay. Foils, such as those from Jones Tones, offer polymer clay enthusiasts the possibility of creating brightly colored, patterned metal effects and imitating dichroie glass. The foil is made by coating clear Mylar with a substance. The process for securing the foil coating to clay is simple. Place the foil on raw clay, pattern side up. (If youre looking at a matte silver sheet, you are looking at the coating side, so turn it over.) Using the side of a bone folder or credit card, quickly stroke the foil in a whipping movement. Grasp a corner of the foil and quickly rip it off the clay. The pattern should stick to the clay. Not all foils will work; holographic coating, for example, will not usually leave the Mylar backing unless it is heated, id forms a finer crackle permanent bond with polymer: metallic TIP You can create a “eracke” sheet by smoothing « sheet of composition leof on ¢ sheet then rolling it through a thinner seling on a pe machine. The crackle patlern k -ause the leat does not stretch and the clay does. When you rol ‘hi the clay throu; ner and thinner settings, the ofthe crackle becomes finerINCLUSIONS Tn addition to tr tials into the ng the surface of raw and cured clay, you can also mix mate- ay itself. We call these additives “inclusions.” Artist Leslie Blackford grows her own lavender and other fragrant herbs and mixes them into her clay. I have added embossing powders and iridescent flakes to translucent imple imitative effects, such as faux opal. "bis necklace was made by mixing embossing powder into both opague and translucent clays. The doughnut bead is translucent clay into which ‘1:00 colors (verdigris and red) ewere mixed, then used to create a Skinner Blend. The peach-colored bead was made by mixing orange embossing powder into translucent clay. The bead on the right is weathered white embossing powder mixed into black clay, to which thin strips of black lay were pressed. All of the beads were rolled in embossing poreder before curing. Convincing imitations of opal can be easily achieved by ixing iridescent flakes (made by Arnold Grummer) into liquid Hay, then spreading it on a ceramic tile and baking. The “opal” Bet can then be cut with scissors and used to cover forms. Bit DONNA KA ‘made these pendants with sheets of “opal” clay.ESSENTIAL TECHNIQUES Now THAT YoU HAVE a better idea of what you might need or want to have before you begin, it’s time to get started! This section covers all the basic tech- niques you need to know, including conditioning the clay, rolling sheets of clay, storing unused clay, and curing your finished pieces, as well as safety concerns, CONDITIONING Simply put, conditioning is the act of restoring the clay to a state close to its original factory-mixed condition. All polymer clays must be conditioned. Conditioning may be accomplished by kneading and mixing the clay by hand or by repeated folding and rolling of clay through a pasta machine until it is soft and pliable. The pasta machine method is preferable, as kneading may introduce air pockets into the clay. There is some controversy about the importance of conditioning, but I have found that to achieve maximum strength and the strongest “piece to piece” adhesion, conditioning is a must. The easiest clay to condition is Sculpey II, followed by Premo! Sculpey, then Kato Polyclay and Fimo Soft, then Fimo Classic. (Note: Ease of conditioning should not be the primary criterion used when selecting a brand of clay, as the easiest to condition may also be the weakest and/or most difficult to handle and work with.) Softer brands such as Sculpey III and Premo! Sculpey may be cut in thick slices from the bar and put immediately through a pasta machine, Other clays require additional preparation. Because Fimo Classic is the most difficult clay to condition, many people cut the clay into small chunks and place it into a food processor to expedite its conditioning. A clay softener, such as Kato Clear Medium, Mix Quick, or Sculpey Clay Softenes, may be added to the clay. Pulsing the machine mixes the softener with the clay as the chunks of clay are reduced to small nuggets. The clay is then removed from the food processor and pressed into a slab. It is then rolled with an acrylic rod to flatten and compress the bits before rolling through a pasta machine. Kato Polyclay and Fimo Soft should be conditioned as follows: ] Stand the bar of polymer clay up on one end and use a blade to cut it into two thick slices. 2 Using an acrylic rod, thin the clay to approximately ¥/s inch. I stand up when I flatten the slices, pressing down on the clay as I roll with the rod. This “precompression” with the acrylic rod is extremely important, as it will minimize crumbling and shredding of the clay.3 Roll the thinned slices through the pasta machine on the thickest setting. Reset the machine to a thinner _seting, skipping one setting. Without folding, roll the clay through the new setting. Fold the clay and roll the clay through the machine. Continue folding and rolling the sheet at this setting until it is soft and pliable. Upon inspec- tion, the surface of the clay should have a soft sheen and be five of surface imperfections. Dark streaks caused by a chemical reaction between the nickel plating on the rollers and the clay may appear. With continued machine use, these streaks should lessen. The Makin’s clay machine, with its nonstick rollers, does not create streaks on sheets of clay. The phrase “open time” refers to the period of time in ‘which the clay remains soft and pliable after conditioning. Certain clay brands ‘cool down” more rapidly than others and might require reconditioning as you work. There appears to be a relationship between open time and case of conditioning, as the clays that are the easiest to condition stem to have the longest open time. Fimo Classic, which is the most difficult to condition but has a fairly long open ‘time, is the exception. ROLLING SHEETS OF CLAY Many projects begin with a sheet of clay. There may be times when you need a very thin sheet or a sheet that ‘aceeds the thickness of the thickest setting on a pasta machine, Here are guidelines for rolling sheets with a pasta ‘machine and with an acrylic rod. Rolling Sheets with a Pasta Machine When you condition clay with a pasta machine, you auto- tmatically end up with a sheet of clay. If you wish to roll the sheet to the thinnest setting of the machine, roll the clay though all of the settings in succession. Do not jump from athick setting to a thin setting, as doing so might lead to the clay shredding, wrinkling, or tearing. It is also helpful